Surprise! The one word “surprise” describes the hot “n” happening musical proceeding of fun-filled teenybopper’s delight MP3-MERA PEHLA PEHLA PYAR. Ashutosh Pathak and Dhruv Ghanekar (better known as Ashu-Dhruv) graduates substantially from ad-film musicians to the cadre of Bollywood composers by invigorating new flair and genre of music. Even guest composer Vipin Mishra gleams to perfection in his single presentation (title track) and album blissfully conjures their notable efforts. Besides praiseworthy composers, the album proves to be worthy launch for budding singing talents.
Vipin Mishra’s upbeat and rollicking musical exertion ushers vital and vigor of “first love” as his lyrical flow penetrates candidly through refined rendition in impressive title track “Mera Pehla Pehla Pyar”. KK relives and rejuvenates his campus-caper days of “Ek Pal” (his first solo pop hit) where the carefree and tender emotions of first love are emoted out with perfection. The peppy track has enthused electric and acoustic guitar strumming depicting the emotional turbulence while delightful saxophone notes invokes romanticism. The incorporation of hip-hop in the backdrop may sound needless as it decimates the mushy lovable musical appeal. KK compatibility with soft rock ballads is materialized amicably and if promoted proficiently, it can bolster chartbusting surprise.
“Mera Pehla Pehla Pyar (remix)” augments the peppy youthful thrust as the booming disco beat fillers filled with boisterously punched arrangements complements racy vocals and sturdy percussions. It’s bombshell on floors and will positively upsurge the animated feel on the dancing floors.
Ashu-Dhruv’s atypical jingling supplemented with mellifluously driven rhythmical base forms enchanting concoction of lovable sentiments in skillfully composed “Kaun Hoon Mein”. Tara Baswani’s impeccably synchronized rendition metaphors naive femininity and unravels the melancholy romantic voyage of idealistic happenings. Suhail Kaul’s pensive and pristinely tender vocals usurp the redolence of “first love” and harmonize it to perfection. Spearheaded with bloomy genteel musical backdrop, it blossoms out palpably with Kiran Kotrial’s sentimentally docile lyrical work. The second version comes with sluggish vocal rendition where Hinglish lyrical work sounds more voluble and genteel to ears. The third version brings metaphorical silhouette of nervous sentiments of “first love” with a theatrical semblance. Enchanting to ears!!!
The frolicking spirit of comradeship among campus camaraderie blooms to zenith with vociferously resplendent vocals in the fun loving “Dosti”. Shaan’s youthfully doodling vocals forms the core element while talented Suhail Kaul’s vocal belligerence gleefully complements the spirit of amity and togetherness. Once again the enthused and crassly delivered hip-hop proves sore thumb in an amusing and vigorous track.
“Chori Chori” comes out as loquacious and chirpy musical work where singers babble out more than voicing this swaggering and jabbering soundtrack. It’s chorally driven song where Suhail Kaul along with Raju Sundaresan gibbers out their senseless endeavors through silly prepositions, conversations, proposals etc.
Ashu-Dhruv’s shifts gears from mushy territories to racy “bhangra” flavors with minimal results as they deliver a mediocre soundtrack in “Na Jaane”. It’s a contemporary offering where Ravindra’s vocals gets into the groove along with routine “dhol” beats music.
Like Akash Sagar’s 1971, the album reminisces melodramatic moments through stylized poised instrumentals works in brief packaging in the soundtracks “Love Theme”, “Climax”, “Paris” and “Plan”. “Love Theme” is a fine amalgam of tender piano beats that mellows with the synchronized flow of violin notes. It has signature feel of adolescent love that is transpired in the soft “n” subtle display. “Climax” is “Hitckokian” style of intimidating instrumental work where the enthused percussions form bondage with electronically generated beats and tones. It can be clubbed as effective background score in the “climax” of the film. “Paris” brings the outstretched and excruciating “alaap” by Sonia Saigal with profound backdrop of “lounge” music and energized musical arrangements. This brief instrumental has stylized European appeal where the collage of instrumentals displaying the resplendent aura of “Paris” city. “Plan” comes with aggressive piano notes, loud clapping and belligerent flute notes with strong Sufi musical “alaap”. It has bang of racy thriller where the vigorous instrumentation depicts the sinful and wicked planning. All four instrumental works are conceived remarkably and can be catalyzed successfully as the effective background score in the film.
Ashu-Dhruv and Vipin Mishra creates decorum of genre in filmdom that was restricted in the small sect of Pop music category. They have amalgamated the proficiency of contemporaries (KK and Shaan) with the vocal flamboyance of budding talents (Tara Baswani and Suhail Kaul) with great success. MP3-MERA PEHLA PEHLA PYAR proves to be saving grace for all minnows and a listening delight for all campus-capers. Fresh singing talents Tara Baswani and Suhail Kaul stem out to be perfect singing pair from GenX and can be touted to be next big revelation on musical scenario. Like Akash Sagar (1971), Ashu-Dhruv excels admirably and notably in signifying the situational melodramatic feel in finely conceived instrumental works.